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唐 Tang · 诗 Poem

田园乐七首·其三

The, Joy, of, the, Fields, Seven, Poems, No. 3

王维

Wang Wei

田园Pastoral life 闲适Leisure

采菱渡头风急，策杖林西日斜。
杏树坛边渔父，桃花源里人家。

Picking, the, water, chestnuts, at, the, ferry, head, the, wind, sharp,
Leaning, on, the, staff, to, the, west, of, the, grove, the, sun, slanting.
By, the, side, of, the, apricot, tree, altar, the, old, fisherman,
In, the, homes, of, the, peach, blossom, source, the, folk.

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Meaning

A poem of the fields and the joy, written by Wang Wei. Picking the water chestnuts at the ferry head the wind sharp, leaning on the staff to the west of the grove the sun slanting — the fields of the opening. By the side of the apricot tree altar the old fisherman, in the homes of the peach blossom source the folk — the idyll of the close. The poem is the fields and the joy: the ferry, the grove, and the close's peach blossom source.

采菱渡头风急，策杖林西日斜。杏树坛边渔父，桃花源里人家。

Appreciation

[Plain Paraphrase] Picking, the, water, chestnuts, at, the, ferry, head, the, wind, sharp, leaning, on, the, staff, to, the, west, of, the, grove, the, sun, slanting. By, the, side, of, the, apricot, tree, altar, the, old, fisherman, in, the, homes, of, the, peach, blossom, source, the, folk. [Structure and Thought] The poem moves from the fields of the ferry and the grove with the wind and the sun, through the leaning on the staff, to the close's the peach blossom source of the folk. [Key Technique] The poem's art is the close of the idyll: by the side of the apricot tree altar the old fisherman, and the close's in the homes of the peach blossom source the folk — the fields gathered in the idyll and the close's source. [Emotional Tone] Peaceful, fresh, and idyllic: the poem is the ferry, the grove and the close's folk.

【白话串讲】王维写《田园乐七首·其三》：“采菱渡头风急，策杖林西日斜”——“杏树坛边渔父，桃花源里人家”——他写田园之乐。【意象与手法】此诗写田园之乐，以六言写闲适，是王维的名篇。前二句写景物：「采菱渡头风急，策杖林西日斜」写采菱渡头风急、策杖林西日斜——写尽田园的风物；后二句写人物：「杏树坛边渔父，桃花源里人家」写杏树坛边渔父、桃花源里人家——写尽田园的人物。全诗以六言写闲适，写尽田园之乐，是王维的代表作。【情感与主旨】此诗写田园之乐，以六言写闲适，是王维的名篇。田园乐是王维晚年隐居辋川时所作的一组六言绝句，此为其三。此诗写田园景物：采菱渡头风急，策杖林西日斜——写采菱渡头风急、策杖林西日斜，写尽田园的风物；杏树坛边渔父，桃花源里人家——写杏树坛边渔父、桃花源里人家，写尽田园的人物。全诗以六言写闲适——那「杏树坛边渔父」写尽渔父的悠闲，「桃花源里人家」写尽桃花源式的理想田园，写尽田园之乐，是理解王维田园诗的重要篇章。【名句点睛】常考「采菱渡头风急，策杖林西日斜」写田园的风物；「杏树坛边渔父，桃花源里人家」写田园的人物；以及全诗以六言写闲适、以用典写理想的手法。

Background

Wang Wei (701-761), the poet of the mountains and the fields of the Tang, wrote this 'The, Joy, of, the, Fields, No. 3' of the fields and the joy — the idyll of the country life. The ferry with the wind, the grove with the sun, and the close's the peach blossom source — the poem gathers the peace of the poet, the charm of the countryside. The poem is one of the famous works of the poet's poems of the fields.

此诗写田园之乐，以六言写闲适，是王维的名篇。王维（701—761），字摩诘，河东蒲州（今山西永济）人，唐代伟大的山水田园诗人，人称「诗佛」。田园乐七首是王维晚年隐居辋川时所作的一组六言绝句，写辋川田园的四时景物与闲适生活。此诗为其三，写田园的风物与人物。「采菱渡头风急，策杖林西日斜」写采菱渡头风急、策杖林西日斜——写尽田园的风物（采菱的渡头，风急；策杖走过林西，日已西斜）；「杏树坛边渔父，桃花源里人家」写杏树坛边渔父、桃花源里人家——写尽田园的人物（杏树坛边的渔父，桃花源里的人家）。此诗以六言绝句写田园之乐，寥寥四句而田园风物、人物毕现，正是王维晚年田园诗的代表。全诗以六言写闲适，写尽田园之乐，是理解王维田园诗的重要篇章。还应说明，六言绝句在唐代极罕见，因六字一句、两两相对，最易流于板滞，而王维此组田园乐却以六言写尽田园的闲适灵动，可谓「以难见巧」。此诗前三句皆写实景，末句忽以「桃花源」作结，将现实田园升华为人人向往的理想之境，正是王维田园诗「由实入虚」的一贯手法。

Art

The poem's art is the art of the idyll. The fields open: picking, the, water, chestnuts, at, the, ferry, head, the, wind, sharp — the ferry of the wind sharp; leaning, on, the, staff, to, the, west, of, the, grove, the, sun, slanting — the grove of the sun slanting. The idyll follows: by, the, side, of, the, apricot, tree, altar, the, old, fisherman — the apricot tree of the old fisherman; in, the, homes, of, the, peach, blossom, source, the, folk — the peach blossom source of the folk — the ferry, the grove and the close's idyll, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以六言写田园。「采菱渡头风急，策杖林西日斜」以六言写田园——那「采菱渡头」「策杖林西」写尽田园的景物、「风急」「日斜」写尽田园的时令，以六言写尽田园的风物。其二，以对仗写景物。「采菱渡头风急，策杖林西日斜」以对仗写景物——那「采菱渡头」对「策杖林西」、「风急」对「日斜」，以对仗写尽田园的景物。其三，以用典写理想。「杏树坛边渔父，桃花源里人家」以用典写理想——那「杏树坛」用孔子杏坛讲学之典、「桃花源」用陶渊明《桃花源记》之典，以用典写尽田园的理想。其四，以闲适写乐趣。全诗写田园风物人物，以闲适写尽田园之乐。此外，此诗四句皆两两相对，前二句写景、后二句写人，由物及人，正是六言绝句「严整而不板滞」的特色；而那「渔父」「桃花源」的意象，更写尽王维对理想田园的向往。四重手法，使此诗以六言写闲适，写尽田园之乐，是王维的代表作。

Allusions

'The ferry head' (du tou) is the ferry head — the head of the ferry, the picking of the chestnuts; 'the apricot tree altar' (xing shu tan) is the apricot tree altar — the altar of the apricot tree, the teaching of the old fisherman; 'the peach blossom source' (tao hua yuan) is the peach blossom source — the source of the peach blossom, the idyll of the close.

此诗的用语深植于田园与隐逸的传统。「采菱渡头风急」令人想到「采菱」写采菱的意象——「采菱渡头风急」正是王维的名句，也令人想到「渡头」写渡口的意象；「策杖林西日斜」令人想到「策杖」写拄杖的意象——「策杖林西日斜」正是王维的名句，也令人想到「日斜」写日斜的意象；「杏树坛边渔父」令人想到「杏树坛」写杏坛的典故——孔子曾设教于杏坛，也令人想到「渔父」写渔父的意象——渔父为隐逸者的象征（《楚辞·渔父》）；「桃花源里人家」令人想到「桃花源」写桃花源的典故——陶渊明《桃花源记》中的理想世界，也令人想到「里人家」写人家的意象——「桃花源里人家」正是王维的名句。全诗化用杏坛、渔父、桃花源的典故与意象，以六言写闲适，正是王维「诗中有画」而兼善用典、承陶渊明田园传统写理想的本领。更可玩味的是「渔父」与「桃花源」并用之妙：渔父本是《楚辞·渔父》中「沧浪之水清兮」的隐逸象征，桃花源则是陶渊明笔下的理想乐土，二者一为隐者之象、一为理想之境，合而观之，正是王维以「隐逸」与「理想」双层意蕴写田园之乐的深意，可见其用典之精当。

Commentary

This poem is one of the famous works of Wang Wei's poems of the fields, quoted for the freshness of its scene and the idyll of its close. The ferry of the wind sharp, and the peach blossom source of the folk, are among the admired passages of the poet's poems. Critics praise the poem's idyll: the fields gathered in the life, to the close's source.

此诗历来被推为王维田园诗的名篇，也是六言绝句的代表。历代论者对此诗评价极高：清人评此诗「以六言写闲适，淡远自然」；近人更指出「杏树坛边渔父，桃花源里人家」以桃花源写理想田园，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以四句的六言绝句写尽田园之乐——那采菱的渡头，那策杖的林西，那日斜，那杏树坛边的渔父，那桃花源里的人家，都写尽了王维笔下的理想田园；那「桃花源里人家」更以桃花源写尽对理想田园的向往。此诗与陶渊明《桃花源记》的理想一脉相承，又与王维《山居秋暝》（「明月松间照，清泉石上流」）同为田园名篇，一写「空山新雨后」的山居（山居秋暝），一写「桃花源里人家」的田园（田园乐）；六言绝句在唐代极少，王维此组诗正是六言体的典范。对于今日读者，此诗是理解王维田园诗的窗口，也是中国诗写理想田园的经典——那桃花源里的人家，穿越千年，仍在诉说着田园之乐。

Prosody

Form A six-character quatrain of the fields (liu yan jue ju)诗·六言绝句

Rhyme The poem rhymes on the level of the group — the cadence of the six-character quatrain that carries the peaceful idyll.六言绝句，押「斜」「家」韵（下平六麻），一韵到底，音节舒缓

Tone pattern The cadence is that of the idyll: the level opening with the fields, the turning with the fisherman, and the close's fall with the folk.此诗为六言绝句，押平声韵，一韵到底，音节舒缓，正合田园的舒缓。

Reading note The poem's sound matches its peace: the cadences of the six-character quatrain, and the close — 'tao hua yuan li ren jia' — falls with the homes, the sound of the idyll of the fields.此诗为六言绝句，四句——「采菱渡头风急，策杖林西日斜。杏树坛边渔父，桃花源里人家」，押「麻」韵（斜、家），一韵到底，音节舒缓。全诗以六言写闲适：前二句写田园的风物（采菱渡头风急，策杖林西日斜），后二句写田园的人物（杏树坛边渔父，桃花源里人家）。六言绝句在唐代极为少见，每句六字，音节舒缓，正宜写田园的闲适。此诗四句两两对仗，前写景、后写人，以「渔父」「桃花源」写尽理想田园。诵读此诗，宜以舒缓的语调读「采菱渡头风急」的风物，以悠然的语调读「桃花源里人家」的人物，结句「桃花源里人家」要读得悠远而有余韵，方能传达出王维的淡远自然。王维绝句以「诗中有画」著称，此诗正是其六言绝句的典范。

Line by line

杏树坛边渔父，桃花源里人家

By, the, side, of, the, apricot, tree, altar, the, old, fisherman, in, the, homes, of, the, peach, blossom, source, the, folk.

杏树坛边有渔父，桃花源里有人家。

By the apricot-tree altar, an old fisherman; in the Peach Blossom Spring, a household.

此二句是全诗写人物的核心，以杏树坛写渔父，以桃花源写人家，写尽田园的人物与理想，是千古名句。「杏树坛边渔父」写杏树坛边有渔父——那「杏树坛」用孔子杏坛讲学之典，「渔父」写渔父，写尽渔父的悠闲；「桃花源里人家」写桃花源里有人家——那「桃花源」用陶渊明《桃花源记》之典，「里人家」写里中人家，写尽桃花源式的理想。这句的深意在于：它以「杏树坛边渔父」的渔父与「桃花源里人家」的桃花源，写尽田园的人物与理想——杏树坛边有渔父，那「杏树坛边渔父」写尽渔父的悠闲——杏树坛（孔子杏坛讲学之处）边，有渔父垂钓，正是隐逸的悠闲，那「渔父」写尽隐逸者的闲适；桃花源里有人家，那「桃花源里人家」写尽桃花源式的理想——桃花源（陶渊明笔下的理想世界）里有人家，正是理想的田园，那「桃花源」写尽对理想田园的向往；那「杏树坛边渔父」写尽渔父的悠闲，那「桃花源里人家」写尽桃花源式的理想，一写渔父，一写桃花源，写尽田园的人物与理想——渔父为隐逸之象征，桃花源为理想之家园，正是王维对田园之乐的理想化描写；此二句以渔父、桃花源写尽田园的人物与理想，也让此二句成为全诗写人物的核心与千古名句。若换作直说「田园里住着渔夫」，则失其理想；唯以「杏树坛边渔父」写渔父、「桃花源里人家」写桃花源，写尽田园的人物与理想，也让此二句成为全诗写人物的核心。

These two lines are the poem's core in writing persons, using the apricot-tree altar for the fisherman, the Peach Blossom Spring for the household, exhausting the pastoral's figures and ideal. By the apricot-tree altar, an old fisherman: the apricot-tree altar uses Confucius's apricot-lectern allusion, the old fisherman writes the recluse angler's leisure. In the Peach Blossom Spring, a household: the Peach Blossom Spring uses Tao Yuanming's Peach Blossom Spring allusion, a household in the village writes the ideal settlement. The deeper pathos lies in the double ideal: the apricot altar is the place of teaching, the fisherman is the figure of withdrawal - learning and retirement in one image; the Peach Blossom Spring is Tao Yuanming's ideal world, the household is ordinary life within it. The fisherman symbolizes reclusion; the Peach Blossom Spring symbolizes the ideal home; together they give Wang Wei's pastoral joy its idealized shape. Compared with a plain saying a fisherman lives in the countryside, the two allusions give the figure both Confucian learning and Daoist paradise, making this the poem's core in writing persons.

采菱渡头风急，策杖林西日斜

Picking, the, water, chestnuts, at, the, ferry, head, the, wind, sharp, leaning, on, the, staff, to, the, west, of, the, grove, the, sun, slanting.

采菱的渡头风急，策杖走过林西时日已西斜。

At the water-chestnut ferry the wind is sharp; leaning on his staff west of the grove, the sun slants.

此二句是全诗写景物的核心，以采菱渡头写水边，以策杖林西写林间，写尽田园的风物与时令，是千古名句。「采菱渡头风急」写采菱的渡头风急——那「采菱渡头」写采菱的渡头，「风急」写风急，写尽渡头的风物；「策杖林西日斜」写策杖走过林西时日已西斜——那「策杖林西」写拄杖行于林西，「日斜」写日已西斜，写尽林间的时令。这句的深意在于：它以「采菱渡头风急」的渡头与「策杖林西日斜」的林西，写尽田园的风物与时令——采菱的渡头风急，那「采菱渡头风急」写尽渡头的风物——采菱的渡头，秋风正急，正是水乡的景物，那「采菱」写尽水乡的劳作；策杖走过林西时日已西斜，那「策杖林西日斜」写尽林间的时令——拄杖行于林西，日已西斜，正是黄昏的田园，那「日斜」写尽田园的时令；那「采菱渡头风急」写尽渡头的风物，那「策杖林西日斜」写尽林间的时令，一写渡头，一写林西，写尽田园的风物与时令——水边采菱、林间策杖，风急日斜，正是王维晚年闲适的田园生活；此二句以对仗写尽田园的风物与时令，也让此二句成为全诗写景物的核心与千古名句。若换作直说「田园风景很好」，则失其具体；唯以「采菱渡头风急」写渡头、「策杖林西日斜」写林西，写尽田园的风物与时令，也让此二句成为全诗写景物的核心。

These two lines are the poem's core in writing scenery, using the water-chestnut ferry for waterside, the staff west of the grove for woodland, exhausting the pastoral's scenery and season. At the water-chestnut ferry the wind is sharp: water-chestnut-ferry names the picking place, sharp wind writes the waterside's autumn. Leaning on his staff west of the grove, the sun slants: staff-west-of-grove writes walking with staff west of the wood, sun-slants writes the late afternoon. The deeper pathos lies in the parallel of labor and leisure: the ferry with its picking and sharp wind is the waterside's workaday scene; the staff and slanting sun west of the grove is the recluse's evening walk. The wind's sharpness and the sun's slant together fix the season as autumn and the hour as dusk; water-picking and staff-leaning give the pastoral both labor and repose. This is Wang Wei's late-life leisure in a single couplet - work by the water, walking in the wood, sharp wind, slanting sun. Compared with a plain saying the countryside is beautiful, the ferry, wind, staff, and sun give the scene both concrete detail and seasonal atmosphere, making this the poem's core in writing scenery.

Study

Word focus

策杖 'The, leaning, on, the, staff' — the leaning of the staff, the walking of the grove. 「策杖林西日斜」之「策杖」是写闲适的关键词，一个「策杖」写尽隐士的悠闲。策杖者，拄杖而行也。王维以「策杖林西」写行止，这个「策杖」至少有双重意味：其一，写行止之闲——那「策杖林西日斜」写拄杖行于林西，那「策杖」写尽行止的悠闲——拄杖而行，漫步林间，正是闲适的行止，那「策杖」写尽隐士的从容；其二，写老境之安——那「策杖」更是写老境——策杖而行，正是老年隐者的形象，那「策杖」写尽老境的安闲。以「策杖」写行止，正是王维写闲适的枢纽——若换作「漫步」「徐行」等词，则或失其写拄杖的意味，或失其与「林西」的配合；唯「策杖」二字，以策杖林西写尽行止的悠闲与老境的安闲，与「采菱渡头风急」的渡头相合，写尽田园的闲适，也让「策杖林西日斜」成为全诗写闲适的名句。

桃花源 'The, peach, blossom, source' — the source of the peach blossom, the idyll of the close. 「桃花源里人家」之「桃花源」是写理想的关键词，一个「桃花源」写尽对理想田园的向往。桃花源者，陶渊明《桃花源记》中的理想世界也。王维以「桃花源里人家」写田园，这个「桃花源」至少有双重意味：其一，写理想之境——那「桃花源里人家」写桃花源里有人家，那「桃花源」写尽理想的世界——桃花源为陶渊明笔下的理想田园，那「桃花源」写尽对理想田园的向往；其二，写现实之化——那「桃花源」更是写现实——王维以桃花源称辋川田园，正是将现实田园理想化，那「桃花源」写尽田园的理想化描写。以「桃花源」写田园，正是王维写理想的枢纽——若换作「山村」「田家」等词，则或失其写理想的意味，或失其与「杏树坛边渔父」的用典呼应；唯「桃花源」三字，以桃花源里人家写尽对理想田园的向往与田园的理想化描写，与「杏树坛边渔父」的渔父相合，写尽田园之乐，也让「桃花源里人家」成为全诗写理想的名句。